Renée Fleming’s choices are shrewd and wide-ranging in her Broadway album, embracing the contemporary and the classic in pretty much equal measure whilst demonstrating that style in this repertoire probably has more to do with attitude than technical adjustment. More, but not all.

Mark Shenton offers a wrap-up of news from the West End, Broadway and Edinburgh, including the West End transfer of Waitress, Edward Hall saying farewell to Hampstead Theatre and Laura Benanti joining My Fair Lady on Broadway.

It’s an amazing time for diversity of style in “musicals” on both sides of the pond. Hamilton’s hip-hop, street poetry, storytelling, David Yazbek’s middle-eastern infused charmer The Band’s Visit, Jeanine Tesori’s Fun Home (newly arrived at London’s Young Vic while her dazzlingly original Caroline Or Change plays at the Playhouse Theatre).

The unique selling feature of a $200-a-ticket Broadway musical which sets it apart from our homemade West End ones is often a vast stage filled with 40 hoofers and a dozen ginormous sets. What makes Dear Evan Hansen so good and special is it has none of these.

There are few divas for whom you would queue an hour in the pouring rain on a cold night in January, but it was almost worth getting trench foot to witness the extraordinary, uplifting, generous and eclectic ‘comeback’ concert with which Cynthia Erivo chose to favour her loyal London mailing list.